Great ending. I also liked that the weird symbols were just an optimistic hobby of the old man. Reminded me of a lot of the weird projects my dad would get into in his later years.It was also kinds a weird positive reversal of the symbols in S1 of True Detective. Im sure it wasn't intentional, but that's what it reminded me of.

Great ending. I also liked that the weird symbols were just an optimistic hobby of the old man. Reminded me of a lot of the weird projects my dad would get into in his later years.It was also kinds a weird positive reversal of the symbols in S1 of True Detective. Im sure it wasn't intentional, but that's what it reminded me of.

Sorry, Fargo fans, it’s going to be more than a year before the hit FX series comes back for its third season.

During a conference call with press on Tuesday, show creator Noah Hawley revealed that the next season will likely debut in the spring of 2017.

“You won’t see it in 2016,” Hawley said of his show. “It’s a winter show, and we don’t have the time to film this winter.” Hawley said that that production for season 3 will likely begin in November of 2016.

In addition to a release date, Hawley confirmed the exact time setting of the new season. As EW exclusively reported, the new season will be set a few years after the first season, which took place in 2006. Hawley got more specific on the call, saying season 3 will take place in 2010 and have a more contemporary feel (according to Hawley, season 3 will take place in a “selfie-oriented culture”).

As for what characters to expect in season 3, Hawley said he’s always looking for connections between the seasons and teased that the lives of new characters may intersect with past favorites – but the show’s season 1 cast will likely not play a large role in season 3.

As 100 Bullets goes along, the main story consists of a war between thirteen crime families who control The United States Of America from behind the scenes and The Minutemen. The Minutemen are a group of men, often recruited from America's prisons, who police any action where one of the thirteen members of The Trust make a move against another. During flashbacks, the reader finds out that The Trust attempts to have The Minutemen killed. After The Minutemen fake their deaths, they are hidden across America.

One of the active Minutemen when they went into hiding was Remi Rome. He is sent back to his childhood home. He is working in a meat packing plant when he is brought back into the fold.

Curtis Hughes is a character who had been an operative for one of The Minutemen during the sixties. He is not allowed to become a Minuteman based on his race.

Lono is the one Minuteman whose death is put on, but is never actually sent into hiding. During the course of the series, The Trust recruit him to protect them from his fellow Minutemen. At the end of the series, he turns on The Trust only to be shot and survive in the final issue.

I have a feeling that Ed's similarity to Remi/Curtis Hughes' similarity to Mike Milligan/Hanzee's similarity to Lono may not be an accident.

Hanzee's working on who killed Rye and playing the Gerdharts is practically right out of the series. Hanzee's turn at the end also seems familiar.

Curtis Hughes being strictly incredibly talented muscle seems pretty close to where we find Mike Milligan.

Remi actually cuts up a body at the meat packing plant before returning to The Minutemen.

I really liked how the last episode almost seemed too short. The 50+ minutes went by in a flash. The pre-title section into that song was perfectly timed. I get annoyed so often at how superficially songs are used latterly in TV/Film just to underscore a scene (there should be a blanket ban on using any Nick Cave/Johnny Cash for scenes involving bloodshed). I think Jodi has pointed out that Fargo manages to overturn this. The songs when they have been used have been great (Aqualung in an earlier episode stands out).

The conversation in the patrol car on the way back was beautiful. As was (the barely recognisable) Adam Arkin's scene with Bokeem Woodbine.

Man, this season was so fucking good that I wanna immediately go back and watch BOTH fuckin' seasons right now.

War Pigs was so great. Every episode had perfect music in it, but that was probably the best instance of all.

Also: I really dug the call out to Raising Arizona with the dreams about the future. It's been a minute since I've watched Raising Arizona but it almost seemed like a shot for shot/line for line homage to that scene. Loved it.

tbone wrote:Also: I really dug the call out to Raising Arizona with the dreams about the future. It's been a minute since I've watched Raising Arizona but it almost seemed like a shot for shot/line for line homage to that scene. Loved it.

Same here. That part in Raising Arizona seems to always make me almost tear up. That part in Fargo was instantly recognizable.

I guess I'm the only one who's kind of indifferent to this show. Or maybe it went over my head?

Anyway, I felt like I wasn't taking anything away from it. I watched the whole thing (and season 2 is better than 1, I think), and I was enjoying it a lot as I was watching, but once each episode ended I didn't think about it a minute longer. In a way, it was like watching a sitcom, I enjoy what's shown to me, but that's all there is to it.

The characters were like out of a comic book. Just everything about them from wardrobe to dialog, and the way they delivered lines. Some of the accents also felt off. I didn't spend too much time in those areas of the US (never been to the Dakotas), but Dodd's accent didn't sound right. I remember other characters sounding off, but can't think who it was.

The only character that had real depth was Peggy, and she was the most tragic of them all. Kirsten Dunst absolutely killed it in every scene she was in and should get whatever award she was nominated for.